Over the last few years, world renowned pianist BRAD MEHLDAU and acclaimed drummer/percussionist MARK GUILIANA (Gretchen Parlato, Meshell Ndegeocello) had been discussing a potential collaboration in which Brad would, for the first time in a live group setting, perform on fender Rhodes and an arsenal of vintage synthesizers, while Mark would accompany on live drums and effects in a loose setting. A great idea that until 2011 didn’t find the light of day due to touring and recording schedules. In August 2011, the two musicians finally got a chance to display what they’d finally got to work on, playing a small show at the Falcon, a cozy venue in upstate New York, to a small attentive crowd during hurricane Irene. The resulting show was trance-laden, free and majestic, displaying Brad’s pension for splitting his hands in a way that no other modern pianist in his generation can - sounding like two pianists – only now utilizing the varied timbres of synthesizers, accompanied by Mark’s frenetic drum machine-like jungle beat precision and unbreakable groove. A completely free form performance, with no set compositions, the resulting sounds were quintessential Brad and Mark, yet touching on modern drum and bass forays found in dance clubs, and nodding back to the more free dance-funk spirit of the early 70s. The unmistakable harmony and melodicism of Brad Mehldau played through electric keyboards enveloped by the virtuosic rhythmic tendencies of Guiliana – is nothing short of what a lot of music fans have been waiting for; two of the world’s most refreshing instrumentalist humanizing live electronic music with improvisation and deft ability.
Jazz pianist BRAD MEHLDAU has recorded and performed extensively since the early 1990s. Mehldau’s most consistent output over the years has taken place in the trio format. Starting in 1996, his group released a series of five records on Warner Bros. entitled The Art of the Trio (recently re-packaged and re-released as a box set by Nonesuch in late 2011). During that same period, Mehldau also released a solo piano recording entitled Elegiac Cycle, and a record called Places that included both solo piano and trio songs. Elegiac Cycle and Places might be called “concept” albums. They are made up exclusively of original material and have central themes that hover over the compositions. Other Mehldau recordings include Largo, a collaborative effort with the innovative musician and producer Jon Brion, and Anything Goes—a trio outing with bassist Larry Grenadier and drummer Jorge Rossy.
His first record for Nonesuch, Brad Mehldau Live in Tokyo, was released in September 2004. After ten rewarding years with Rossy playing in Mehldau’s regular trio, drummer Jeff Ballard joined the band in 2005. The label released its first album from the Brad Mehldau Trio—Day is Done—on September 27, 2005. An exciting double live trio recording entitled Brad Mehldau Trio Live was released on March 25th, 2008 (Nonesuch) to critical acclaim. On March 16, 2010 Nonesuch released a double-disc of original work entitled Highway Rider, the highly anticipated follow up to Largo. The album was Mehldau’s second collaboration with renowned producer Jon Brion and featured performances by Mehldau’s trio—drummer Jeff Ballard and bassist Larry Grenadier—as well as percussionist Matt Chamberlain, saxophonist Joshua Redman, and a chamber orchestra led by Dan Coleman. In 2011 Nonesuch released Live in Marciac – a two CD release with a companion DVD of the 2006 performance, and Modern Music, a collaboration between pianists Brad Mehldau and Kevin Hays and composer/arranger Patrick Zimmerli. On March 13, 2012 Nonesuch released an album of original songs from the Brad Mehldau Trio – Ode - the first from the trio since 2008’s live Village Vanguard disc and the first studio trio recording since 2005’s Day is Done, featuring 11 previously unreleased songs composed by Mehldau.
Mehldau’s musical personality forms a dichotomy. He is first and foremost an improviser, and greatly cherishes the surprise and wonder that can occur from a spontaneous musical idea that is expressed directly, in real time. But he also has a deep fascination for the formal architecture of music, and it informs everything he plays. In his most inspired playing, the actual structure of his musical thought serves as an expressive device. As he plays, he listens to how ideas unwind, and the order in which they reveal themselves. Each tune has a strongly felt narrative arch, whether it expresses itself in a beginning, an end, or something left intentionally open-ended. The two sides of Mehldau’s personality—the improviser and the formalist—play off each other, and the effect is often something like controlled chaos.
Mehldau has performed around the world at a steady pace since the mid-1990s, with his trio and as a solo pianist. His performances convey a wide range of expression. There is often an intellectual rigor to the continuous process of abstraction that may take place on a given tune, and a certain density of information. That could be followed by a stripped down, emotionally direct ballad. Mehldau favors juxtaposing extremes. He has attracted a sizeable following over the years, one that has grown to expect a singular, intense experience in his performance.
In addition to his trio and solo projects, Mehldau has worked with a number of great jazz musicians, including a rewarding gig with saxophonist Joshua Redman’s band for two years, recordings and concerts with Pat Metheny, Charlie Haden and Lee Konitz, and recording as a sideman with the likes of Michael Brecker, Wayne Shorter, John Scofield, and Charles Lloyd. For more than a decade, he has collaborated with several musicians and peers whom he respects greatly, including the guitarists Peter Bernstein and Kurt Rosenwinkel and tenor saxophonist Mark Turner. Mehldau also has played on a number of recordings outside of the jazz idiom, like Willie Nelson’s Teatro and singer-songwriter Joe Henry’s Scar. His music has appeared in several movies, including Stanley Kubrick’s Eyes Wide Shut and Wim Wender’s Million Dollar Hotel. He also composed an original soundtrack for the French film, Ma Femme Est Une Actrice. Mehldau composed two new works commissioned by Carnegie Hall for voice and piano, The Blue Estuaries and The Book of Hours: Love Poems to God, which were performed in the spring of 2005 with the acclaimed classical soprano, Renee Fleming. These songs were recorded with Fleming and released in 2006 on the Love Sublime record; simultaneously, Nonesuch released an album of Mehldau’s jazz compositions for trio entitled House on Hill. A 2008 Carnegie Hall commission for a cycle of seven love songs for Swedish mezzo-soprano Anne Sofie von Otter premiered in 2010. Love Songs, a double album that paired the newly commissioned song cycle, with a selection of French, American, English, and Swedish songs that Mehldau and von Otter performed together, was released in late 2010 (on the Naïve label) to unanimous praise.
Mehldau was appointed as curator of an annual four-concert jazz series at London's prestigious Wigmore Hall during its 2009-10 and 2010-11 seasons, with Mehldau appearing in at least two of the four annual concerts. In late January 2010 Carnegie Hall announced the 2010-11 season-long residency by Mehldau as holder of the Richard and Barbara Debs Composer’s Chair at Carnegie Hall—the first jazz artist to hold this position since it was established in 1995. Previous holders include Louis Andriessen (2009–2010), Elliott Carter (2008–2009), and John Adams (2003–2007).
www.imnworld.com/bradmehldau
www.bradmehldau.com
According to Modern Drummer magazine, MARK GUILIANA “may well be at the forefront of an exciting new style of drumming.” The 28-year-old New Jersey native’s unique and un-compromised approach to playing the drums has earned him international acclaim as both a leader and a sideman.
Jazz pianist BRAD MEHLDAU has recorded and performed extensively since the early 1990s. Mehldau’s most consistent output over the years has taken place in the trio format. Starting in 1996, his group released a series of five records on Warner Bros. entitled The Art of the Trio (recently re-packaged and re-released as a box set by Nonesuch in late 2011). During that same period, Mehldau also released a solo piano recording entitled Elegiac Cycle, and a record called Places that included both solo piano and trio songs. Elegiac Cycle and Places might be called “concept” albums. They are made up exclusively of original material and have central themes that hover over the compositions. Other Mehldau recordings include Largo, a collaborative effort with the innovative musician and producer Jon Brion, and Anything Goes—a trio outing with bassist Larry Grenadier and drummer Jorge Rossy.
His first record for Nonesuch, Brad Mehldau Live in Tokyo, was released in September 2004. After ten rewarding years with Rossy playing in Mehldau’s regular trio, drummer Jeff Ballard joined the band in 2005. The label released its first album from the Brad Mehldau Trio—Day is Done—on September 27, 2005. An exciting double live trio recording entitled Brad Mehldau Trio Live was released on March 25th, 2008 (Nonesuch) to critical acclaim. On March 16, 2010 Nonesuch released a double-disc of original work entitled Highway Rider, the highly anticipated follow up to Largo. The album was Mehldau’s second collaboration with renowned producer Jon Brion and featured performances by Mehldau’s trio—drummer Jeff Ballard and bassist Larry Grenadier—as well as percussionist Matt Chamberlain, saxophonist Joshua Redman, and a chamber orchestra led by Dan Coleman. In 2011 Nonesuch released Live in Marciac – a two CD release with a companion DVD of the 2006 performance, and Modern Music, a collaboration between pianists Brad Mehldau and Kevin Hays and composer/arranger Patrick Zimmerli. On March 13, 2012 Nonesuch released an album of original songs from the Brad Mehldau Trio – Ode - the first from the trio since 2008’s live Village Vanguard disc and the first studio trio recording since 2005’s Day is Done, featuring 11 previously unreleased songs composed by Mehldau.
Mehldau’s musical personality forms a dichotomy. He is first and foremost an improviser, and greatly cherishes the surprise and wonder that can occur from a spontaneous musical idea that is expressed directly, in real time. But he also has a deep fascination for the formal architecture of music, and it informs everything he plays. In his most inspired playing, the actual structure of his musical thought serves as an expressive device. As he plays, he listens to how ideas unwind, and the order in which they reveal themselves. Each tune has a strongly felt narrative arch, whether it expresses itself in a beginning, an end, or something left intentionally open-ended. The two sides of Mehldau’s personality—the improviser and the formalist—play off each other, and the effect is often something like controlled chaos.
Mehldau has performed around the world at a steady pace since the mid-1990s, with his trio and as a solo pianist. His performances convey a wide range of expression. There is often an intellectual rigor to the continuous process of abstraction that may take place on a given tune, and a certain density of information. That could be followed by a stripped down, emotionally direct ballad. Mehldau favors juxtaposing extremes. He has attracted a sizeable following over the years, one that has grown to expect a singular, intense experience in his performance.
In addition to his trio and solo projects, Mehldau has worked with a number of great jazz musicians, including a rewarding gig with saxophonist Joshua Redman’s band for two years, recordings and concerts with Pat Metheny, Charlie Haden and Lee Konitz, and recording as a sideman with the likes of Michael Brecker, Wayne Shorter, John Scofield, and Charles Lloyd. For more than a decade, he has collaborated with several musicians and peers whom he respects greatly, including the guitarists Peter Bernstein and Kurt Rosenwinkel and tenor saxophonist Mark Turner. Mehldau also has played on a number of recordings outside of the jazz idiom, like Willie Nelson’s Teatro and singer-songwriter Joe Henry’s Scar. His music has appeared in several movies, including Stanley Kubrick’s Eyes Wide Shut and Wim Wender’s Million Dollar Hotel. He also composed an original soundtrack for the French film, Ma Femme Est Une Actrice. Mehldau composed two new works commissioned by Carnegie Hall for voice and piano, The Blue Estuaries and The Book of Hours: Love Poems to God, which were performed in the spring of 2005 with the acclaimed classical soprano, Renee Fleming. These songs were recorded with Fleming and released in 2006 on the Love Sublime record; simultaneously, Nonesuch released an album of Mehldau’s jazz compositions for trio entitled House on Hill. A 2008 Carnegie Hall commission for a cycle of seven love songs for Swedish mezzo-soprano Anne Sofie von Otter premiered in 2010. Love Songs, a double album that paired the newly commissioned song cycle, with a selection of French, American, English, and Swedish songs that Mehldau and von Otter performed together, was released in late 2010 (on the Naïve label) to unanimous praise.
Mehldau was appointed as curator of an annual four-concert jazz series at London's prestigious Wigmore Hall during its 2009-10 and 2010-11 seasons, with Mehldau appearing in at least two of the four annual concerts. In late January 2010 Carnegie Hall announced the 2010-11 season-long residency by Mehldau as holder of the Richard and Barbara Debs Composer’s Chair at Carnegie Hall—the first jazz artist to hold this position since it was established in 1995. Previous holders include Louis Andriessen (2009–2010), Elliott Carter (2008–2009), and John Adams (2003–2007).
www.imnworld.com/bradmehldau
www.bradmehldau.com
According to Modern Drummer magazine, MARK GUILIANA “may well be at the forefront of an exciting new style of drumming.” The 28-year-old New Jersey native’s unique and un-compromised approach to playing the drums has earned him international acclaim as both a leader and a sideman.
